Dutilleux

This remarkable album was released on the 97th birthday of a composer who, over more than seven decades, had a profound influence on classical music. Born in 1916 and best known for his Violin Concerto, Henri Dutilleux continued the line of great masters of French music. The album is a tribute to the composer by his former composition pupil, conductor and composer Esa-Pekka Salonen, Music Director Laureate of the Los Angeles Philharmonic.

Henry Dutilleux - Musique de Chambre (1994)
Contemporary | 2CDs | FLAC noLog noCue | Easy CD-DA | 294 Mb| + Booklet PDF 300 Dpi | 24 Mb
Erato Recordings | RS

I was plannig to upload theses a bit sooner… but I had to prepare for auditions and exams. Sorry for the cover I couldn't find any better-looking one…
Anyway behold:
Dutilleux's Chamber Music, with Piano Works by Genevieve Joy and Dutilleux himself on Figures de resonances.
Followed by major works 3 strophes sur le nom de S A C H E R by David Geringas and the string quartet Ainsi la nuit with Quatuor Sine Nomine .
Plus various pieces for baritone/piano and Les Citations for oboe, harpsichord, double bass and percussion.
Nearly the complete chamber works… What are you waiting for ? Go get it !

Dutilleux, Henri - Cello & Violin Concertos (03/1995)
Contemporary | 1CD | FLAC | Easy CD-DA Extractor Rip | FLAC, NO CUE, NO LOG | 206 MB | Complete Scans | 17 MB | lossy: mp3 CBR 320k 115mb
Rapidshare

Though you guys have provided this board with amazing stuff, there's still not enough Dutilleux around here, if you ask me… So I'm gonna try and fill the voids !

In the mid-sixties, Dutilleux met Mstislav Rostropovich, who commissioned him to write a cello concerto. Rostropovich premièred the work, titled Tout un monde lointain, in 1970. It is one of the most important additions to the cello repertoire of the 20th century and is considered one of the composer's major achievements. In five movements, Tout un Monde Lointain is a nocturnal, mysterious work with a delicate orchestration and an eerily beautiful, yet highly virtuosic solo part. While most of the concerto is introspective and meditative, it also has occasional outbursts of violence and a frantic build-up to the ambiguous, suspended finale.

In 1985, Isaac Stern premiered L'Arbre des Songes, a violin concerto that he had commissioned Dutilleux to write. Like its cello counterpart, it is an important addition to the instrument's 20th century repertoire.

Edit: Now in mp3…

Henri Dutilleux's small but important output demonstrates a remarkable originality of form and technique. Completed in 1985, Dutilleux's violin concerto L'arbre des songes ("The Tree of Dreams") is the culmination of his experiments in unifying large-scale works. The process of unification is present on two interrelated levels: form and thematic development.In his notes to this composition, Dutilleux explains that the convention of dividing a work into movements separated by pauses ……..

In addition to the traditional pairing of the Debussy and Ravel string quartets, the Arcanto Quartett performs Henri Dutilleux's Ainsi la Nuit (1971-1976), a grouping that is becoming increasingly popular on recordings. These are absolutely secure, thoughtful, self-effacing readings of the Debussy and the Ravel. While the quartet doesn't bring particular new revelations to the pieces, the members play with nuanced sensitivity and impeccable musicianship. The haunted quiet they achieve in the first part of the third movement of the Debussy is especially impressive, as is the clarity of their sense of direction and unity in the final movement, the most difficult of the four to pull off. Similarly in the Ravel, the contrast between the serenity of the third movement and the raw athleticism of the fourth is attention-grabbing and invigorating.

A solitaire in French is a single mounted jewel, a concept that seems less than apt for the rather hefty works recorded here by British pianist Kathryn Stott. But this fine recital holds together in another way: Ravel, who so often provides the temporal endpoint for traditional piano recitals, is here, to a greater or lesser extent, the launching point for the other three composers featured. Stott's reading of the neoclassical Le Tombeau de Couperin is beautifully precise and balanced, catching the economy of this Baroque-style suite to the hilt. That economy carries over into the later works, even the rarely performed Piano Sonata of Henri Dutilleux, a work that deftly fuses Ravel's sense of classical forms with a largely dissonant language. The opening Prelude and Fugue of Jehan Alain, actually two separate works that are reasonably enough combined here, is another seldom-played piece that makes an arresting curtain-raiser, and the final "Le baiser de l'Enfant Jésus" of Messiaen, part of the giant Vingt regards sur l'Enfant Jésus, is the splendid climax of the whole, its spiritual, dreamlike ascent at the end superbly controlled. Better still is the sound, recorded at Hallé St. Peters in Manchester: it creates a hypnotic effect all its own.